Fall2011.CITA295495 History

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  1. Interactive Robotic Painting Machine (2011) Interactive Robotic Painting Machine (2011) - Our everyday interactions are increasingly mediated by technology, be they mobile phones, chat systems, or social networking sites. These systems are designed to anticipate and support our needs and desires while facilitating those interactions. As these systems grow in complexity, or intelligence, how does that intelligence change what passes through them? Further, how does that intelligence evolve to make its own work for its own needs?
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  1. Timeline of 20th c. Art and New Media by Rama Hoetzlein.
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  1. An introduction to pair programming. This 9-minute video describes what pair programming is, the do's and don'ts of effective pairing, and the pros and cons of pair programming. Here is the accompanying worksheet.
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  • Final: TBA
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  • Final: 12-3pm, Thursday, Dec 8.
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Homework #1.

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  1. Edwards, Michael. Algorithmic Composition: Computational Thinking in Music. Communications of the ACM, Vol. 54, No. 7, pp. 58-67.
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  1. Zoe Keating Avant-garde cellist Zoe Keating demonstrates her intricately layered compositions. Using a computer, some 'janky code', a cello and her imagination, the classically trained musician shapes her music into something wonderful.
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  1. Zoe Keating Avant-garde cellist Zoe Keating demonstrates her intricately layered compositions. Using a computer, some 'janky code', a cello and her imagination, the classically trained musician shapes her music into something wonderful.
  2. Pat Metheny's Orchestrion Pat Metheny's Orchestrion project is a new, open-ended platform for musical composition, improvisation and performance. It uses acoustic and acoustoelectric musical instruments that are mechanically controlled through a guitar, pen or keyboard. This creates a detailed compositional environment, which allows spontaneously developed improvisation. On top of layers of acoustic sound, Pat Metheny adds conventional electric guitar playing as an improvised component - a new level for solo performance by a single musician.
  3. Magnetosphere Magnetosphere - After a couple years of working with the code for magnetosphere, Robert Hodgin set up an overnight render for Miss You by Trentemoller. "When I awoke the next morning and viewed it for the first time, I was stunned", he says. "The thing that is most interesting to me about the video is that it was nearly entirely created with code ... (aside from the music, of course) ... And randomness. If I were to recompile the code over and over, the resulting videos would all be unique." (quote)
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  1. Pat Metheny's Orchestrion project is a new, open-ended platform for musical composition, improvisation and performance. It uses acoustic and acoustoelectric musical instruments that are mechanically controlled through a guitar, pen or keyboard. This creates a detailed compositional environment, which allows spontaneously developed improvisation. On top of layers of acoustic sound, Pat Metheny adds conventional electric guitar playing as an improvised component - a new level for solo performance by a single musician.
  2. Interactive virtual-to-physical mapping - projection of virtual artifacts onto physical ones. The future (present?) of scenography.
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  1. Richard Garrett's Weathersongs Richard Garrett's Weathersongs project demonstrates how computers can be used to create music in addition to just edit it or play it. Weathersongs is music created, using a computer, from the ever-changing patterns of the weather as recorded by an electronic weather station.
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  1. Program-or-be-programmed Douglas Rushkoff - Program or Be Programmed. Why literate, creative people in the 21st century need to know how to program. (Presented at SXSW 2010 - a conference on the convergence of original music, independent films, and emerging technologies).
  2. Join the Top of the Software Food Chain When all the Photoshops have turned to dust: Join the Top of the Software Food Chain - In a post-apocalyptic world, we still have technology, but software... well it's not what it used to be...
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  1. Behind the Gear Tape Op Magazine "Behind the Gear" Interview with Justin Frankel. Justin Frankel has always pushed the envelope of music and software. In 1997 he dropped out of college to release Winamp. He then started another company to develop a new DAW (Digital Audio Workstation) called Reaper.
  2. reactable The reactable hardware is based on a translucent, round multi-touch surface. A camera situated beneath the table, continuously analyzes the surface, tracking the player's finger tips and the nature, position and orientation of physical objects that are distributed on its surface. These objects represent the components of a classic modular synthesizer, the players interact by moving these objects, changing their distance, orientation and the relation to each other. These actions directly control the topological structure and parameters of the sound synthesizer. A projector, also from underneath the table, draws dynamic animations on its surface, providing a visual feedback of the state, the activity and the main characteristics of the sounds produced by the audio synthesizer.
    • See reactable live YouTube video.
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  1. The reactable hardware is based on a translucent, round multi-touch surface. A camera situated beneath the table, continuously analyzes the surface, tracking the player's finger tips and the nature, position and orientation of physical objects that are distributed on its surface. These objects represent the components of a classic modular synthesizer, the players interact by moving these objects, changing their distance, orientation and the relation to each other. These actions directly control the topological structure and parameters of the sound synthesizer. A projector, also from underneath the table, draws dynamic animations on its surface, providing a visual feedback of the state, the activity and the main characteristics of the sounds produced by the audio synthesizer.
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Computing in the Arts Seminar and Capstone

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Computing in the Arts Seminar/Capstone

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Computing in the Art Seminar and Capstone

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Computing in the Arts Seminar and Capstone

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Computing in the Art Seminar and Capstone

When/Where

TR 1:40-2:55PM / LONG 220

Description

CITA 295: A seminar course to develop through readings, discussion, and writing exercises the integration of themes developed across computing in the arts. Students will benefit from participating with junior and senior majors in a group seminar in preparation for their own enrollment in CITA 495. Open to CITA majors only.

Prerequisites: CSCI/CITA 210, CSCI 221, 9 hours in an art concentration.

CITA 495: A capstone course to provide a synthesizing experience for CITA majors across all concentrations. Students will read and analyze the latest research in the expanding field of computing in the arts, and will develop individual research projects integrating their skills and knowledge for both written and oral presentation. Open only to CITA majors with senior standing.

Prerequisite: CITA 295

  • Course syllabus
  • Student wiki for lecture notes (requires password, opens new window)

Test Dates

  • Test 1: TBA
  • Test 2: TBA
  • Final: TBA

Assignments

TBA

Readings & References

  1. Seth Horvitz – Eight Studies for Automatic Piano is inspired by the work of James Tenney, György Ligeti, Charlemagne Palestine, and Conlon Nancarrow. This work makes use of simple, computer-aided compositional processes to test the limits of human perception and machine precision. It relies on a bare minimum of technical means to explore notions of temporal distortion, iterative process, and elegant complexity. Presented in an immersive concert setting without the presence of a human performer, Eight Studies questions traditional notions of live performance and musical "life".
    • Also see videos of the performances.
  2. Zoe Keating Avant-garde cellist Zoe Keating demonstrates her intricately layered compositions. Using a computer, some 'janky code', a cello and her imagination, the classically trained musician shapes her music into something wonderful.
  3. Pat Metheny's Orchestrion Pat Metheny's Orchestrion project is a new, open-ended platform for musical composition, improvisation and performance. It uses acoustic and acoustoelectric musical instruments that are mechanically controlled through a guitar, pen or keyboard. This creates a detailed compositional environment, which allows spontaneously developed improvisation. On top of layers of acoustic sound, Pat Metheny adds conventional electric guitar playing as an improvised component - a new level for solo performance by a single musician.
  4. Magnetosphere Magnetosphere - After a couple years of working with the code for magnetosphere, Robert Hodgin set up an overnight render for Miss You by Trentemoller. "When I awoke the next morning and viewed it for the first time, I was stunned", he says. "The thing that is most interesting to me about the video is that it was nearly entirely created with code ... (aside from the music, of course) ... And randomness. If I were to recompile the code over and over, the resulting videos would all be unique." (quote)
  5. PLOrk The Princeton Laptop Orchestra (PLOrk) is a newly established ensemble of computer-based musical meta-instruments. Each instrument consists of a laptop, a multi-channel hemispherical speaker, and a variety of control devices (keyboards, graphics tablets, sensors, etc.).
    • See PLOrk: Princeton Laptop Orchestra (Fox News) YouTube clip, Dan Trueman: Silicon/Carbon, and PLOrk website.
    • Listen to PLorK MP3 recordings.
  6. Richard Garrett's Weathersongs Richard Garrett's Weathersongs project demonstrates how computers can be used to create music in addition to just edit it or play it. Weathersongs is music created, using a computer, from the ever-changing patterns of the weather as recorded by an electronic weather station.
  7. Birds on the Wires Birds on the Wires - Reading a newspaper, Jarbas Agnelli saw a picture of birds on the electric wires. He cut out the photo and decided to make a song, using the exact location of the birds as notes...
  8. HARMONIA (3rd Harmonic Resonance) HARMONIA (3rd Harmonic Resonance) - The image and audio are generated by the same algorithmic process, an unfolding of the harmonic series across the course of an hour. Visually, the harmonic series is represented by the division of the circle. Sonically it is represented by a sinewave series built upon a fundamental frequency of 31.7 Hz (ultra-low C).
  9. An introduction to pair programming. This 9-minute video describes what pair programming is, the do's and don'ts of effective pairing, and the pros and cons of pair programming. Here is the accompanying worksheet.
  10. Program-or-be-programmed Douglas Rushkoff - Program or Be Programmed. Why literate, creative people in the 21st century need to know how to program. (Presented at SXSW 2010 - a conference on the convergence of original music, independent films, and emerging technologies).
  11. Join the Top of the Software Food Chain When all the Photoshops have turned to dust: Join the Top of the Software Food Chain - In a post-apocalyptic world, we still have technology, but software... well it's not what it used to be...
  12. M.C. Escher's 'Print Gallery' Achieving the Unachievable - An inquiry into the mystery of the missing hole in M.C. Escher's "Print Gallery".
    • Also see Escher's Print Gallery Explained (spoiler alert!).
  13. Impromptu Impromptu is a Scheme language environment for music composition and real-time performance.
  14. Phonautogram Researchers play song recorded before Edison. The 10-second recording of a singer crooning the folk song “Au Clair de la Lune” was discovered earlier this month in an archive in Paris by a group of American audio historians. It was made, the researchers say, on April 9, 1860, on a phonautograph, a machine designed to record sounds visually, not to play them back. But the phonautograph recording, or phonautogram, was made playable — converted from squiggles on paper to sound — by scientists at the Lawrence Berkeley National Laboratory in Berkeley, Calif.
  15. Behind the Gear Tape Op Magazine "Behind the Gear" Interview with Justin Frankel. Justin Frankel has always pushed the envelope of music and software. In 1997 he dropped out of college to release Winamp. He then started another company to develop a new DAW (Digital Audio Workstation) called Reaper.
  16. reactable The reactable hardware is based on a translucent, round multi-touch surface. A camera situated beneath the table, continuously analyzes the surface, tracking the player's finger tips and the nature, position and orientation of physical objects that are distributed on its surface. These objects represent the components of a classic modular synthesizer, the players interact by moving these objects, changing their distance, orientation and the relation to each other. These actions directly control the topological structure and parameters of the sound synthesizer. A projector, also from underneath the table, draws dynamic animations on its surface, providing a visual feedback of the state, the activity and the main characteristics of the sounds produced by the audio synthesizer.
    • See reactable live YouTube video.
  17. fractals Intro to Fractals from Wikipedia.
  18. Interactive Mandelbrot Set - user interface allows to zoom in at different areas.
  19. Victor Staniosis and Hugh Berberich, "Computer Music - Science and Technology of a New Art", Monograph Series of the Liberal Arts, Dartmouth Electronic Bookshelf.
  20. Phil Burk, Larry Polansky, Douglas Repetto, Mary Roberts, and Dan Rockmore, "Music and Computers", Dartmouth Electronic Bookshelf.
  21. Richards R. (2001), "A New Aesthetic for Environmental Awareness: Chaos Theory, the Beauty of Nature, and our Broader Humanistic Identity". Journal of Humanistic Psychology, Vol. 41, No. 2, pp. 59-95.
  22. Spehar, B., C.W.G. Clifford, B.R. Newell, and R.P. Taylor. (2003). "Universal Aesthetic of Fractals." Computers & Graphics, vol. 27, pp. 813-820.
  23. Chazelle, B. (2006), "Could you iPod be Holding the Greatest Mystery in Modern Science?", Math Horizons, vol 13, April 2006. Algorithmic thinking is likely to cause the most disruptive paradigm shift in the sciences since quantum mechanics. The big ideas revolve around universality, duality, and self-reference.
  24. CofC Library resources related to Computers, Music, and Art.